Chiikawa Stays on Top While Paradise Lost Debuts in Korea

Chiikawa the Movie dominates the Korean weekend box office

Over the three‑day period of October 23 to 25, the Japanese animated feature Chiikawa the Movie: The Secret of the Mermaid Island captured almost half of all ticket sales in South Korea. Data from the Korean Film Council’s KOBIS system shows the film held a 44.8% share of nationwide revenue, a remarkable feat for a foreign animation in its fourth week of release.

Box office numbers and market share

According to the latest KOBIS report, Chiikawa earned roughly 1.9 billion won in ticket sales during the weekend, outpacing the combined earnings of the next three highest‑grossing titles. The film’s cumulative total now exceeds 9 billion won, placing it among the top‑performing foreign releases of the year.

Other films in the top ten include the domestic thriller Paradise Lost, the Hollywood blockbuster Guardians of the Galaxy Vol. 3, and the Korean drama Veteran 2. Yet none approached the share commanded by Chiikawa.

Factors behind the anime’s appeal

Several elements contribute to the sustained success of Chiikawa in Korea:

• Family‑friendly storytelling: The film’s gentle adventure and simple moral lessons attract parents looking for safe entertainment for children.
• Strong brand recognition: The Chiikawa franchise has built a loyal fan base through television shorts, merchandise, and a popular mobile game.
• Strategic distribution: Distributed by Toho, the movie benefited from a wide release across major multiplexes and regional theaters.
• Positive word of mouth: Online reviews on platforms such as Naver and Daum consistently rate the film above four stars.

Industry analysts note that the film’s performance signals a growing appetite for Japanese anime among Korean families, a trend that has been developing since the early 2010s.

Yeon Sangho’s Paradise Lost opens amid high expectations

On the same weekend, acclaimed director Yeon Sangho premiered his latest thriller, Paradise Lost. The film, produced by CJ ENM and directed by the creator of the animated hit Train to Busan, entered the market with a solid opening, ranking second in total box office revenue.

Opening weekend performance

Paradise Lost earned approximately 1.4 billion won in its first three days, securing a 33% share of the domestic market. While the figure trails Chiikawa’s share, it represents a strong showing for a mid‑budget thriller, especially given the competition from both local and international releases.

The film’s marketing campaign highlighted its tense narrative and high‑production values, drawing audiences interested in suspenseful storytelling.

Critical reception and genre contrast

Early reviews praise Yeon’s skillful direction and the film’s atmospheric cinematography. Critics from the Korean Film Council commend the screenplay for its layered exploration of morality under pressure.

Unlike Chiikawa’s light‑hearted tone, Paradise Lost offers a darker, more introspective experience. The coexistence of these two very different films on the same weekend illustrates the diversity of audience preferences in South Korea.

What the numbers mean for South Korean cinema

The simultaneous success of a Japanese family anime and a Korean thriller highlights several broader industry trends.

Impact on domestic productions

Domestic studios are taking note of Chiikawa’s performance. The high market share achieved by a foreign animation suggests that Korean producers could benefit from co‑productions or licensing deals that bring similar content to local screens.

Furthermore, the strong showing of Paradise Lost reaffirms the viability of genre films that blend commercial appeal with artistic ambition.

Future outlook for anime in Korea

Analysts predict that the appetite for Japanese animation will continue to grow, especially as streaming platforms expand their anime libraries. The box office data supports the notion that theatrical releases of popular anime can still generate significant revenue, even in a market dominated by domestic productions.

Upcoming releases such as Detective Conan: The Scarlet Bullet and Jujutsu Kaisen 0 are expected to follow a similar trajectory, potentially reshaping the composition of the Korean box office in the months ahead.

Overall, the weekend of October 23–25 serves as a snapshot of a dynamic market where family‑focused anime and intense thrillers can both thrive, offering valuable insights for filmmakers, distributors, and investors alike.